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Preisdatenbank abonnierenPablo Picasso, 1881 Málaga – 1973 MouginsCENTAUR, 1960Höhe: 29 cm. Breite: 28 cm. Durchmesser des Glassockels: 7,4 cm.Auf der Unterseite des Glassockels eingraviert „P Picasso e Constantini Fucina Angeli FE-1960“, mit kleinem Kreis, darin „PA“.Zudem Aufkleber „MAZZEGA I.V.R. MURANO“.Für Fucina Angeli Venezia, ausgeführt durch Egidio Costantini (1912-2007). Blaues Glas mit dem Gesicht eines Kentauren mit zwei Hörnern, sowie einem roten Auge. (14314112) (18))
Pablo Picasso, 1881 Málaga – 1973 Mougins, nachFEMME, 1955Höhe: 33 cm.Bodenseitig mit Reliefstempel Edition Picasso und Madoura, sowie mit dem Pinsel „Edition Picasso“. Nicht nummeriert.Weißes Steingut in Kegelform gearbeitet mit ausgestelltem Hals und schauseitigem Ausguss. Innen wie außen gefasst. Die Fassung eine halb entblößte Frau mit Perlenkette zeigend. Innen zusätzlich glasiert. J-förmiger Henkel mit Streifendekor.Literatur:Alain Ramié, Picasso catalogue de l‘oeuvre céramique édité 1947-1971, Vallauris 1988, Nr. 297, Auflage von 100 Exemplaren. (1431771) (13))
After Pablo Picasso (Spanish, 1881-1973). Set of two polished bronze figural sculptures titled "L'Homme et la Femme" depicting a male and female figure cast after a 1965 terracotta mold by the artist. Both with etched signature along the front of the base; editioned 169/175 along the right side of the base.Lot Essay:Pablo Picasso stands as one of the most renowned and prolific artists of the 20th century, whose innovative and groundbreaking work revolutionized the course of Western art. Born in Malaga, Spain, Picasso demonstrated exceptional artistic talent from a young age and received formal training at various art academies. His early works, influenced by Symbolism and the Blue and Rose Periods, showcased his versatility and mastery of traditional techniques.Picasso's career underwent a seismic shift with the advent of Cubism, a movement he co-founded alongside Georges Braque. Cubism shattered conventional notions of perspective and representation, presenting multiple viewpoints simultaneously and breaking objects down into geometric forms. Picasso's seminal work "Les Demoiselles d'Avignon" (1907) marked a turning point in art history, foreshadowing the radical innovations that would follow.Throughout his prolific career, he continued to push artistic boundaries, experimenting with diverse styles and mediums, including sculpture, ceramics, and collage. His involvement with Surrealism and his exploration of African and Iberian art further enriched his artistic vocabulary.Picasso's influence transcended the confines of the art world, shaping the cultural landscape of the 20th century and beyond. His legacy as a visionary artist, innovator, and provocateur continues to resonate, inspiring generations of artists and sparking dialogue about the nature of creativity and artistic expression. Through his relentless pursuit of innovation and his fearless embrace of experimentation, he left an indelible mark on art history, cementing his status as a titan of modernism and one of the most enduring figures in the pantheon of great artists.Each, height: 11 3/4 in x width: 6 in x depth: 3 3/4 in.Condition: There are no dents, losses, or repairs. Light wear along the underside. Some dust throughout.
Pablo Picasso (Spanish, 1881-1973). Graphite sketch on graph paper titled "Self Portrait with Marie-Therese Walter," depicting two portraits along the front of the artist and his lover and model, Marie-Therese Walter (French, 1909-1977). She was the mother of their daughter Maya Widmaier-Picasso (1935-2022). The verso of this piece renders several sketches of various objects including a wardrobe cabinet, a ball, a cage, a snail, a human figure, a dog, and an elegant hound voiding his bowels.Provenance: The Estate of Marie-Therese Walter, France; Private collection, Minnesota.Literature: Josep Palau I Fabre, "Pare Picasso," Barcelona: Ediciones Poligrafa, 1977.Lot Essay:A multi-faceted artist who worked as a sculptor, painter, printmaker, and theater designer, Pablo Picasso is known as the co-founder of the Cubist movement and regarded as one of the most influential artists of the 20th century.The artist was born on October 25, 1881 in Malaga, Spain to Don Jose Ruiz y Blasco (1838–1913) and Maria Picasso y Lopez. His father was a naturalist painter of birds and game as well as a professor of art at the School of Crafts and a curator of a local museum. From the early age of seven, Picasso received formal traditional artistic training from his father, copying work from old masters and rendering the human body through the use of live models and plaster casts.This training took place throughout Picasso’s childhood. In 1891, his family moved to A Coruna where they resided for four years while his father took a position at the School of Fine Arts there. Picasso’s artistic capabilities grew, and even Ruiz claimed that his son had surpassed his own talents. In 1895, his sister, Lola, died from diptheria, and the family moved once again, this time to Barcelona. As a professor at the School of Fine Arts, his father persuaded the institution to let Picasso take the entrance exam for advanced classes at the mere age of thirteen. Though this process typically took a month to complete, Picasso finished in a short week and was accepted into the advanced courses. At age sixteen, Picasso’s father and uncle sent him to the Real Academia de Bellas Artes de San Fernando in Madrid. However, soon after enrollment Picasso stopped attending classes but was instead invigorated by attractions such as the Prado with artistic works by masters Diego Velazquez, Francisco Goya, Francisco Zurbaran, and El Greco.By the time Picasso married his first wife, Olga Stepanovna Khokhlova, in 1918, he had risen to success and acquired some fame and fortune as a forerunner of the Cubist movement, though this contrasted greatly with his humble “starving artist†beginnings and continuing bohemian lifestyle. Khokhlova came from high society and introduced her new husband to formal dinner parties and life of the rich in Paris during the 1920s. This clashed with Picasso’s own world views and inevitably led to the couple’s demise.A long-standing secret affair began in 1927 between Picasso and the then 17-year-old Marie-Thérèse Walter. In 1935, Marie became pregnant and it was then that a friend told Khokhlova about Picasso’s mistress. Khokhlova and Picasso separated, never divorcing, until Khokhlova’s death in 1955. On September 5, 1935, Marie and Picasso’s child, Maria de la Concepcion, called "Maya", was born. Though Picasso financially supported Marie and Maya throughout his life, he never married her and had a number of affairs with other women.Marie was a model and muse for many of Picasso’s paintings, sculptures, and drawings including the sketch seen in this lot. She is typically portrayed as bright and blonde in contrast to the weeping woman persona of Picasso’s other lover, Dora Maar. Though the sketch on the recto of the artist and his lover is masterful and typical of Picasso’s greatest works, the verso renders drawings of dogs, a snail, and other random objects created for the amusement of his daughter, Maya. Both sides demonstrate Picasso’s virtuoso and ability to be playful yet skillful in his artistic works.Height: 5 3/4 in x width: 3 3/4 in.Condition: The drawing is in good condition overall. The drawing is executed on graph paper and has a deckled edge along the right. There is a paper loss along the lower right. A repair to a 1 inch tear that goes from the upper right edge, diagonally downward. Some areas of skinning along the upper left and right corners. Some light surface soiling. Some minor losses and one small tear along the lower edge. The drawing bears light impressions of the drawings on the verso. The drawing is not framed.
Ginés Parra, Spanish 1896-1960 - Composition; oil on canvas, signed, titled and inscribed on the reverse 'Parra F. 44 Registro 19', 65 x 54 cm (unframed) (ARR) Provenance:a Private Collection of French Naturalist PaintersNote:Parra was part of a group of important Spanish artists fundamental in the avant-garde formation of the École de Paris, alongside Pablo Picasso, Antoni Clavé, Francisco Bores and Joaquín Peinado. The thick impasto of his work is reminiscent of Georges Rouault and his dynamic and layered compositions show an influence of Cubism which was being explored at the time by fellow artists. He exhibited at the Société Nationale des Beaux-Arts, the Salon d’Automne and the Salon des Indépendants. In 2020, a bust of Parra was erected in his birth place of Zurgena, Spain where there are plans to open a museum dedicated to his work.
Ginés Parra, Spanish 1896-1960 - Tête égyptienne; painted plaster, H24 x W16.5 x D16.7 cm (ARR) Provenance:a Private Collection of French Naturalist PaintersNote:Parra was part of a group of important Spanish artists fundamental in the avant-garde formation of the École de Paris, alongside Pablo Picasso, Antoni Clavé, Francisco Bores and Joaquín Peinado. The thick impasto of his work is reminiscent of Georges Rouault and his dynamic and layered compositions show an influence of Cubism which was being explored at the time by fellow artists. He exhibited at the Société Nationale des Beaux-Arts, the Salon d’Automne and the Salon des Indépendants. In 2020, a bust of Parra was erected in his birth place of Zurgena, Spain where there are plans to open a museum dedicated to his work.
Ginés Parra, Spanish 1896-1960 - Tête riante; painted plaster, H24 x W28.2 x D19.5 cm (ARR) Provenance:a Private Collection of French Naturalist PaintersNote:Parra was part of a group of important Spanish artists fundamental in the avant-garde formation of the École de Paris, alongside Pablo Picasso, Antoni Clavé, Francisco Bores and Joaquín Peinado. The thick impasto of his work is reminiscent of Georges Rouault and his dynamic and layered compositions show an influence of Cubism which was being explored at the time by fellow artists. He exhibited at the Société Nationale des Beaux-Arts, the Salon d’Automne and the Salon des Indépendants. In 2020, a bust of Parra was erected in his birth place of Zurgena, Spain where there are plans to open a museum dedicated to his work.
Ginés Parra, Spanish 1896-1960 - Deux femmes assises sur un rocher face à un lac et une forteresse; oil on canvas, signed lower right 'Parra', 54 x 65.4 cm (unframed) (ARR) Provenance:a Private Collection of French Naturalist PaintersNote:Parra was part of a group of important Spanish artists fundamental in the avant-garde formation of the École de Paris, alongside Pablo Picasso, Antoni Clavé, Francisco Bores and Joaquín Peinado. The thick impasto of his work is reminiscent of Georges Rouault and his dynamic and layered compositions show an influence of Cubism which was being explored at the time by fellow artists. He exhibited at the Société Nationale des Beaux-Arts, the Salon d’Automne and the Salon des Indépendants. In 2020, a bust of Parra was erected in his birth place of Zurgena, Spain where there are plans to open a museum dedicated to his work.
PABLO PICASSO (SPANISH 1881-1973) MÈRE ET ENFANTS (B.737) - 1961 Etching with aquatint on Arches laid paper, un-numbered impression aside from the edition of 50, signed in pencil to margin, published by Galerie Louise Leiris the plate 25.4cm x 30.5cm (10in x 12in) Sotheby's, London, Old Master, 19th and 20th Century and Contemporary Prints, 12 December 1991, lot 535; Private Collection, U.K.
PABLO PICASSO (SPANISH 1881-1973), AFTER BOUQUET DE FLEURS (CZWIKLITZER 130) - 1958 Colour lithograph on Chiffon de la Dore wove paper, 43/200, signed and numbered in pencil, signed and dated in plate, published by Éditions Combat pour la Paix, Paris the sheet 66cm x 51cm (26in x 20in), unframed
ENGLISH SCHOOL, 20th century. A caricature of Pablo Picasso holding a paintbrush standing in front of his 1937 painting “Guernica”, signed with initials MH, pen & wash on paper, 42cm x 49cm, framed & glazed (68cm x 52.5cm). Provenance: Purchased from Portobello Road Market, London in the early 2000’s.
David Bomberg, British 1890-1957 - Farm Field, Talgwyn, Red Wharf Bay, 1944; oil on canvas, signed and dated lower right 'Bomberg 44' and bears inscription with title on the reverse of the stretcher, 58.5 x 76 cm (ARR) Provenance: with Boundary Gallery, London (by repute); private collection, London, purchased in 1983 Note: the owner of the work was a close friend and client of Agi Katz, founder and director of Boundary Gallery, who specialised in the work of David Bomberg and other Jewish and émigré artists in Britain; Rosebery's were responsible for selling her Estate in 2022. The work is listed in an inventory made by Agi Katz of the owner's collection. Made towards the end of the Second World War, Bomberg visited Angelsea with his family in 1944, making a number of works of Talgwyn Farm as a respite from the more urban works he had been making. Richard Cork has described these as showing his 'impulsive emtional reaction to the landscape'. This followed an important commission for the War Artists Advisory Committee in 1942 to paint an underground bomb store at RAF Fauld in Tutbury, creating a small body of works that were highly abstracted and almost geometric in form. Bomberg would make more trips across the UK in 1946, making a series of similarly expansive landscapes of Cornwall, Devon and Scotland. These landscapes present a renewed engagement with nature itself and a large number of these are now in public collections including 'Evening, Cornwall, 1947' (Herbert Art Gallery & Museum, Coventry), 'Bideford, Devon, 1946' (Royal Albert Memorial Museum & Art Gallery, Exeter) and a related Welsh landscape, 'Talgwyn Farm, Red Wharf Bay, Anglesea, 1944' (The Art Gallery of Western Australia, Perth). David Bomberg was a member of the Whitechapel Boys. He studied at the Slade School of Art under Henry Tonks, and alongside artists such as Stanley Spencer, Ben Nicholson, and Paul Nash. He was awarded the Slade Prize for drawing in 1913, after which he travelled to France, meeting contemporaries such as Pablo Picasso and Amedeo Modigliani. In 1914 he co-curated an exhibition with Jacob Epstein, in which his works were shown alongside those of Modigliano, Kisling, and other prominent Jewish artists living in France. His first solo exhibition was held at the Chenil Gallery in 1914, where visitors included Augustus John, Marinetti, Duchamp and Brancusi. Bombergs work has been the subject of a number of solo exhibitions, including at the Israel Museum in 1983, at the Tate in 1988, and at the Whitechapel Gallery in 1979 when under the directorship of Nicholas Serota. His works are currently held at MoMA in New York, the Art Institute in Chicago, the Tate in London and National Galleries of Scotland, Edinburgh.
Emmanuel Mané Katz, Ukrainian 1894-1962 - Contrebasiste; bronze, signed, stamped with foundry mark and numbered 'EA', H47.3 x W22 x D14 cm (ARR) Provenance: with O'Hana Gallery, London (according to the previous cataloguing of the work); Phillips, 30th November 1987, lot 201; private collection, purchased from the above Note: Although born in Ukraine the artist lived and worked the majority of his life in Paris, becoming affiliated with the School of Paris from the 1920s onwards, and working closely alongside Pablo Picasso. This particular painting was completed later in his career and is typical of his oeuvre of this period. His expressive brushstrokes and interesting use of colour create a bold and dynamic composition.
Pablo Picasso (1881-1973). Henkelkrug „Cruchon Hibou“, bunt bemalt mit Eulendekor. Keramik, mit Blindstempel und am Boden beschriftet mit „Edition Picasso Madoura.“ und „Madoura Plein Feu“ (H=26,5 cm). Provenienz: Erworben in der Galerie D'Art, Le Plan - Vallauris - mit originalem Ausstellungsetikett der Galerie. Vgl. Alain Ramié, „Picasso: Catalogue de l'œuvre céramique édité 1947-1971“, Nr. 293.
Pablo Picasso (1881-1973) after.Le Verre d’AbsintheEtching with aquatint printed in colours, 1972, signed in pencil, numbered from the edition of 300, printed and published by Atelier Crommelynck, Paris, with their blindstamp, on Arches paper, with full margins, sheet 632 x 835mm (24 7/8 x 32 3/7in)
Pablo Picasso (1881-1973) after.Intérieur Rouge avec une Transatlantique BleuEtching with aquatint printed in colours, 1959, signed in red pencil, numbered from the edition of 300, printed and published by Atelier Crommelynck, Paris, with their blindstamp, on BFK Rives paper, with full margins, sheet 658 x 498mm (25 7/8 x 19 5/8in)
Pablo Picasso (1881-1973)Cauchemar, from Series 347 (Bloch 1730)Aquatint, 1968, signed in pencil, one of seventeen unnumbered artist's proofs aside from the edition of 50, published by Galerie Louise Leiris, Paris, on BFK Rives wove paper, with full margins, sheet 324 x 438mm (12 3/4 x 17 1/4in)Provenance: Ex. coll. Marina Picasso, with inkstamp verso.
Pablo Picasso (1881-1973)Famille de Saltimbanques (Bloch 163)Etching, 1933, signed in pencil, from the edition of 250, as included in La Suite Vollard, published by Ambrose Vollard, Paris, on Montval laid paper, with the Picasso watermark, with full margins, sheet 337 x 445mm (13 1/4 x 17 1/2in)
Pablo Picasso (1881-1973) after.Nature Morte Aux Poires et au PichetEtching with aquatint printed in colours, 1960, signed in pencil, numbered from the edition of 300, printed and published by Atelier Crommelynck, Paris, with their blindstamp, on Arches paper, with full margins, sheet 500 x 622mm (19 5/8 x 26in)
Pablo Picasso (1881-1973)Plate 12, from Le Cocu Magnifique (Bloch 1255; Cramer 140)Etching with aquatint and drypoint, 1966, signed in pencil, numbered from the edition of 30, printed and published by Atelier Crommelynck, Paris, on Auvergne Richard-de-Bas wove paper, with full margins, sheet 370 x 478mm (14 1/2 x 18 3/4in)
Pablo Picasso (1881-1973)Young Man Kneeling before Nude with Procuress and Others, from Series 347 (Bloch 1594)Aquatint, 1968, signed in pencil, numbered from the edition of 50, published by Galerie Louise Leiris, Paris, on BFK Rives wove paper, with full margins, sheet 325 x 425mm (12 3/4 x 16 1/2in)
Pablo Picasso (1881-1973)Modèle nu et sculptures (Bloch 185)Etching, 1933, signed in pencil, from the edition of 250, as included in La Suite Vollard, published by Ambrose Vollard, Paris, on Montval laid paper, with the Picasso watermark, with full margins, sheet 445 x 338mm (17 1/2 x 13 1/4in)
Pablo Picasso (1881-1973)Femme Nue Se Couronnant de Fleurs, from the Suite Vollard (Bloch 135)Etching, 1930, signed in pencil, the total edition was 303, published by Ambroise Vollard, Paris, on Montval laid paper, with the Picasso watermark, with full margins, sheet 445 x 334mm (17 1/2 x 13 1/8in)
Pablo Picasso (1881-1973)Flûtiste et Jeune Fille au Tambourin, (Bloch 213)Etching, 1934, signed in pencil, the total edition was 303, as included in La Suite Vollard, published by Ambroise Vollard, Paris, on Montval laid paper, with the Picasso watermark, with full margins, sheet 427 x 339mm (16 7/8 x 13 3/8in)
Pablo Picasso (1881-1973)Modèle et Grande Sculpture de Dos, from La Suite Vollard (Bloch 186)Etching, 1933, signed in pencil, from the total edition of 310, printed by Lacourière, published by Ambroise Vollard, Paris, on Montval laid paper with the Vollard watermark, with full margins, 445 x 340mm (17 1/2 x 13 3/8in)
Pablo Picasso (1881-1973)Plate 11, from Le Cocu Magnifique (Bloch 1254; Cramer 140)Etching with drypoint, 1966, signed in pencil, numbered from the edition of 30, printed and published by Atelier Crommelynck, Paris, on Auvergne Richard-de-Bas wove paper, with full margins, sheet 370 x 478mm (14 1/2 x 18 3/4in)
Pablo Picasso (1881-1973)Dormeuse et Sculptures (Bloch 258)Etching, 1933, signed in pencil, one of fifteen unnumbered artist's proofs aside from the edition of 50, published in 1961 by Galerie Louise Leiris, Paris, on Arches laid paper, with full margins, sheet 412 x 318mm (16 1/4 x 12 1/2in)
Emil Nolde (1867-1956) Red Blooming Cacti (Epiphyllum Lovibia), signed lower right, watercolour on Japanese long fibred paper, 47 x 35.5 cm (SH), frame by Alfred Hecht (1907-1991) 76 x 64 cmThis painting has been authenticated by the Stiftung Seebüll Ada und Emil Nolde and will be included in the forthcoming Catalogue Raisonné of watercolours and drawings by Emil Nolde. A copy of the certificate signed by Dr Christian Ring and Dr Astrid Becker will be included. Provenance: Private collection, Shropshire, inherited by the current owner in 1963 and subsequently valued for family asset division in 1968 by Lord Westmorland at Sotheby's. The painting is believed to have been sourced by art dealer Dr Hermann Burg (1878-1946) for the family in the early 1940s.Notes: Emil Nolde (1867-1956) was a German-Danish painter and printmaker. He was one of the first Expressionist artists and an important figure in German Expressionism. Nolde was renowned for his intense and masterful use of colour, drawing his inspiration from the landscapes, flora and folklore of his surroundings and his home in the rural border between Germany and Denmark. He initially trained as a woodcarver but turned to painting in his thirties becoming associated with Die Brüke and Der Blaue Reiter groups 1908-1910, but Nolde preferred to work as an individual, unencumbered by the influence of others.The artist was supportive of the NSDAP party but the Nazi regime opposed Emil Nolde and banned him from painting. His work was labelled ‘degenerate art’ and 1,025 of his paintings were seized and confiscated by the Nazis. Some of these pieces were included in the infamous ‘Degenerate Art’ exhibition organised by Adolf Ziegler and the Nazis in Munich in 1937. Degenerate Art was defined as works that ‘insult Germany feeling or destroy or confuse natural form’, exhibiting 650 works by 112 artists including; Paul Klee, Pablo Picasso, Jean Metzinger, Piet Mondrian, Marc Chagall and Wassily Kandinsky. The exhibition attracted huge crowds, over two million visitors attended during its run, averaging 20,000 people per day.Despite being prohibited from working until the fall of the Third Reich, Nolde continued to paint in secret, producing some of his most striking watercolours during this period, asserting his creative freedom. Condition:The painting is a watercolour on Japanese long-fibred paper with an ink signature to the lower right. The painting does have a frame with glazing, it is currently kept separately to the frame inside acid-free wrappng inside a folder to allow for safe viewing and transportation. The sheet is in overall good condition, there are no obvious losses. There is a small repaired tear to the lower right edge which likely resulted from adhesive gum tape holding the painting in place within the frame which was repaired with lens tissue and wheatstarch paste by a conservator. All adhesive tape glue residue has been removed. There are some creases/crumples present including a horizontal crease extending horizontally at the mid-upper right edge between the flowers. There are further crumples which have been photographed - please see additional images in catalogue. There are some spots of foxing present which are predominantly located in the background areas rather than the flowers, the spots appear generally sparsly distributed across the sheet. The paint surface appears generally stable and the colours are good. The frame is gold coloured with black painted outer, the mount is topped with pale green material. The joints of the frame are sound, there is some general wear and tear present.
Bernard Kay (1927-2021) Interest collection of ephemera previously belonging to the artist; to include a large quantity of photograph negatives; passport photographs of the artist; photobooth photographs of the artist; photographs of Pablo Picasso at a bull fight; photographs of trips to Europe, including Florence; photographs of British houses; an ink and wash study of a horse and chariot by Sylvette David, monogrammed to the lower right, the inside reading 'Dear Bernard I am so so happy to tell you that Toby and I are getting married at the End of April. I hope we shall see you soon here. Much love from Sylvette. Best wishes from Toby 56.', the message dated 19.4.56, further letters to the artist, business cards and exhibition cataloguesNote: Sylvette David (now known as Lydia Corbett) was the sitter in around 60 of Picasso's portraits. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
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